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对小提琴、中提琴、大提琴和倍大提琴的声辐射的指向特性进行了探讨。除了倍大提琴外,每种乐器在最低的频率范围内都有无方向的特点。在高频范围都有一个可用的辐射区域,这些辐射区随着频率的变化而改变其指向和角度幅度。这些结果提示出弦乐部分的不同布局对于不同的音乐厅和不同的乐曲风格各有最适宜的条件。欧洲式的席位布局对大提琴的辐射最佳;它的优点是,听众可以分辨出第一和第二小提琴的声音特点,但是第二小提琴的声音并不明亮。美国式的布局使第二小提琴的声音象第一小提琴一样好,但是在古典交响乐的对位乐句里两部都难于分辨。大提琴的声音很弱而且欠明澈。在音乐厅里的测定证实了这些发现是可靠的,并且已经被用来指导管弦乐队改变其席位布局,从而改善乐器的音响平衡并获得了成功。 1969年4月11日在宾州费城举行的美国声学协会第77届会议上的“提琴声学論坛”上提出的报告。
The directional characteristics of acoustic radiation of violins, viola, cello and double cello are discussed. In addition to the double cello, each instrument has no directional characteristics in the lowest frequency range. In the high-frequency range there is a usable radiation area, these radiation area changes with the frequency change its direction and angle amplitude. These results suggest that different layouts of the string sections have the most appropriate conditions for different concert halls and different genres of music. The European-style seating arrangement offers the best radiation for the cello; it has the advantage that the listener discerns the first and second violins’ voices, but the second violin does not sound bright. American-style layout makes the second violin sound as good as the first violin, but the classical symphony of the two phrases are difficult to distinguish. The cello’s voice is weak and understated. Measurements in the concert hall confirm that these findings are reliable and have been used to guide the orchestra to change its seat layout to improve the acoustic balance of the instrument and to succeed. Report presented at the Violin Acoustics Forum at the 77th Session of the American Acoustics Association, Philadelphia, Pennsylvania, April 11, 1969.